An curious answers from Machine..
TSystem
Tablatures chords, scales and modes for computer systems.
This document preserves the evolution of a chord system for assisted composition and the use of musical parameters in electroacoustic systems.
It divides the implementations of the system into two sections: performing live and offline, as well as artistic and scientific objectives, facilitating harmonic analysis.
A further objective involves advanced compositional research focused on the superposition of complex chords and characteristic sound groups from Stockhausen, Ligeti and Varèse, figures whose work has shaped electronic experimentation and contemporary orchestration.
During my studies in various conservatories, I systematically cataloged scales, ways and chords.
These were organized into structured lists designed for rapid access and manipulation via indexing functions, supporting the development of stratified harmonic structures and polychord progressions, key elements in generative music and soundscapes.
During the experimentation, I identified two categories of data within the computational systems explicitly in CSound:
• Initialized data (“i”) – pre-calculated and ready to use
• Generated data (“k”) – requiring calculation
To optimize performance and speed up indexing, I manually initialized the lists, allowing efficient manipulation of overlapping chord patterns and iterative polyrhythmic construction.
The first implementation was born in May 2015, using Wolfram Mathematica with the support of Nicola Monopoli.
In this first phase, the collections included:
- Major and minor chords
- Inversions and suspensions
- Subdominant and dominant derivatives
- Revolts
The system was denoted in Roman numerals, for example CIV for the subdominant of C major (F, A, C), for a real generative harmonization.
In 2022, a commission pushed experimentation through the CsoundQt editor to speed up compositional experimentation in the rendering of MIDI tracks.
The simultaneous processing of three or six overlapping notes made index functions necessary such as:
• cyclic segmentation with timeScale as list reading speed;
• random segmentation;
In this period, I owe a fundamental development to the book CookBook JazzMaster, which integrated dissonant jazz chords into the system along with classical progressions.
The ability to concatenate polychord overlays has facilitated the creation of complex compositions.
In December 2022, I implemented the idea in Cabbage, a parameter display system through a graphical interface. This development led to the creation of the first instrument and its related chord experimentation system, integrating the “increased and decreased” chord extensions typical of jazz for live research.
Since the nomenclature of conventional agreements was not always compatible with computational syntax, adopted a simplified nomenclature:
• D = diesis (#)
• b = flat
• M = major chords
• m = minor agreements
Example: kCmi6 := {C, Eb, G, A}, where 6 denotes the sixth degree (A) of the C minor agreement.
At the same time, the system has been expanded in Mathematica computational models, integrating computes for the management of expanded indexes and list sizes, the document presents;
- Arpeggio = { 0 , 1 , 2, 1, 0}
- Phase lag = { 0, 1, 2, 1, 2, 0, 2, 1}
- Arpeggio and Phase lag = { 0, 1, 2, 1, 0, 1, 2, 0, 2, 1, 0, 1, 2 }
- Arpeggio and Phase lag of values taken at random from a list
- Reverse phase defasing
- Random values from the list
An example of the sixth scale of Messiaen’s ways or hexatonic with Arpeggio and Lag
To do this I had to calculate the lengths of the lists based on different tables.
This phase led to the development of the second application for managing five triggers, establishing a base for a interchangeable model generator.
Thus was born “Improvvisa” for DAW and Midi systems, performing live.
The interface does not clearly show the value of the buttons.
Synthetically it allows you to manage five sequencers live * five variable overlays + melodic modes.
There are therefore two ways, one for the creation of chords and another for the creation of melodies together with a complex combinatorial system that allows:
1. Translation of items to list
2. Commutation
3. Permutation
4. Management and parametric automation…
1 Translation of items in the list
Live placement of elements.
Vary the attack of the entire lists by placing 64 steps or less from 0 to 128.
2 Commutation
The term refers to the switching of several lists, syntactically called arrays.
So let’s imagine having the possibility to manually choose 4 main lists, and to be able to read them individually at a time.
These four main lists, which I will call MODI, will be appropriately extrapolated into five new arrays with different possibilities:
· Size of the list
· Random extrapolation from the list by MODES, variable or constant
· Change in the speed of reading elements
· Transformation of lists with elements borrowed from nearby and parallel lists thanks to a sequencer that intervenes in the index by choosing how many lists to move.
3 Permutation
Returning to list transformations, in this particular circumstance, it refers to the cyclical “re-positioning” of elements in an array. We try to create a cycle of attacks ex. (0,1,2. 1,2.0. 2.0,1…).
Let’s imagine that we have five numbered lists available and the possibility of: moving them, switching them and varying the attack of the elements without losing them by inserting them in new positions.
4 Management and parametric automation
Parametric automation alludes to the management of many controls from a single divider that will intervene on the automation speed. This is to speed up the control, during the performances.
8824 lines of Orchestra.))
In 2024, the system was adapted for Kyma, and then introduced the concept of PatternLag, which allows the:
Generation of many difference pattern
Specification the repetition number
Lag a Pettern after variable repetition of number (in performance time)…
This system has recently been updated in Kyma (2026) by better organizing the names of the chords and scales.
Available for free and experimentally on Discord for Kyma users.
It present a slider to choose from 9 different groups of modes and a slider to choose the list.
18 MajorChords
14 MinorChords
9 Dim&SusChords
16 DominantChords
19 Inversions
12 OldMode & Scale
10 Exatonal Scales
9 IndianScale
7 PentatonicScale
It was implemented also in the new version of Swift application for iPhone & iPad
UpiX ( https://apps.apple.com/it/app/upix/id6804760793 )
Allows the use of the system in Upic Xenakis style, using a virtual internal driver.
With this document we intend to create a translation of the modes already used: iBbaddb13add9 = Si♭ with 13ª and 9ª
Preserving the right of conservation of the tools.
Difference refers to the parallel value in Hz calculated with the previous value.
Concluding recommendation: indexing across two octaves is advised using ListNote{Hz or Sys or Ratio}.
| ListNote | Hz | RATIO | MIDI | Differences in Hz; |
|---|---|---|---|---|
| iC2; | 523.25" | 2.000; | 72; | 29.37 |
| iCD2; | 554.37" | 2.118; | 73; | 31.12 |
| iDb2; | 554.37" | 2.118; | 73; | |
| iD2; | 587.33" | 2.244; | 74; | 32.96 |
| iDD2; | 622.25" | 2.378; | 75; | 34.92 |
| iEb2; | 622.25" | 2.378; | 75; | |
| iE2; | 659.25" | 2.519; | 76; | 37 |
| iED2; | 698.46" | 2.669; | 77; | 39.21 |
| iFb2; | 659.25" | 2.519; | 76; | |
| iF2; | 698.46" | 2.669; | 77; | |
| iFD2; | 739.99" | 2.828; | 78; | 41.53 |
| iGb2; | 739.99" | 2.828; | 78; | |
| iG2; | 783.99" | 2.996; | 79; | 44 |
| iGD2; | 830.61" | 3.174; | 80; | 46.62 |
| iAb2; | 830.61" | 3.174; | 80; | |
| iA2; | 880.00" | 3.363; | 81; | 49.39 |
| iAD2; | 932.33" | 3.563; | 82; | 52.33 |
| iBb2; | 932.33" | 3.563; | 82; | |
| iB2; | 987.77" | 3.775; | 83; | 55.44 |
| CHORD SCALE Name | ListNote | HarmonicMean Hz | Differences Hz | |
|---|---|---|---|---|
| MAJOR | ||||
| 1 | C | iC, iE, iG. | 318.914 | 68., 62.37 |
| 2 | C6 | iC, iE, iG, iA. | 342.476 | 68., 62.37, 48 |
| 3 | C6|9 | iC, iE, iG, iA, iD. | 373.629 | 68., 62.37, 48., 147.33 |
| 4 | C(add9) | iC, iE, iG, iD. | 360.051 | 68., 62.37, 195.33 |
| 5 | CMA7 | iC, iE, iG, iB. | 349.904 | 68., 62.37, 101.88 |
| 6 | CMA7(add13) | iC, iE, iG, iA, iB. | 364.846 | 68., 62.37, 48., 53.88 |
| 7 | CMA9 | iC, iE, iG, iB, iD. | 380.682 | 68., 62.37, 101.88, 93.45 |
| 8 | CMA13 | iC, iE, iG, iB, iD, iA. | 420.442 | 68., 62.37, 101.88, 93.45, 292.67 |
| 9 | C7 | iC, iE, iG, iBb. | 346.257 | 68., 62.37, 74.16 |
| 10 | C9 | iC, iE, iG, iBb, iD. | 377.224 | 68., 62.37, 74.16, 121.17 |
| 11 | C13 | iC, iE, iG, iBb, iD, iA. | 416.925 | 68., 62.37, 74.16, 121.17, 292.67 |
| 12 | CMA7(b5) | iC, iE, iGb, iB. | 354.34 | 68., 85.67, 78.58 |
| 13 | CMa7(#5) | iC, iE, iGD, iB. | 345.32 | 68., 40.36, 123.89 |
| 14 | CMa7(#11) | iC, iE, iG, iB, iFD. | 391.143 | 68., 62.37, 101.88, 246.12 |
| 15 | CMA9(#11) | iC, iE, iG, iB, iD, iFD. | 414.202 | 68., 62.37, 101.88, 93.45, 152.67 |
| 16 | CMa13 (#11) | iC, iE, iG, iB, iD, iFD, iA. | 353.312 | 68., 62.37, 101.88, 93.45, 152.66, 140.01 |
| 17 | C7(b5) | iC, iE, iGb, iBb. | 341.768 | 68., 40.36, 96.17 |
| 18 | C9(b5) | iC, iE, iGb, iBb, iD. | 372.954 | 68., 40.36, 96.17, 121.17 |
| MINOR | ||||
| 19 | Cmi | iC, iEb, iG. | 312.914 | 49.5, 80.87 |
| 20 | Cmi6 | iC, iEb, iG, iA. | 337.267 | 49.5, 80.87, 48. |
| 21 | Cmi6|9 | iC, iEb, iG, iA, iD. | 368.66 | 49.5, 80.87, 48., 147.33 |
| 22 | Cmi (add9) | iC, iEb, iG, iD. | 354.298 | 49.5, 80.87, 195.33 |
| 23 | Cmi7 | iC, iEb, iG, iBb. | 340.934 | 49.5, 80.87, 74.16 |
| 24 | Cmi7(add11) | iC, iEb, iG, iBb, iF. | 379.818 | 49.5, 80.87, 74.16, 232.3 |
| 25 | Cmi7(add13) | iC, iEb, iG, iA, iBb. | 357.01 | 49.5, 80.87, 48., 26.16 |
| 26 | Cmi9 | iC, iEb, iG, iBb, iD. | 372.159 | 49.5, 80.87, 74.16, 121.17 |
| 27 | Cmi11 | iC, iEb, iG, iBb, iD, iF. | 333.311 | 49.5, 80.87, 74.16, 121.17, 111.13 |
| 28 | Cmi13 | iC, iEb, iG, iBb, iD, iF, iA. | 437.413 | 49.5, 80.87, 74.16, 121.17, 111.13, 181.54 |
| 29 | Cmi(Ma7) | iC, iEb, iG, iB. | 344.469 | 49.5, 80.87, 101.88 |
| 30 | Cmi9(Ma7) | iC, iEb, iG, iB, iD. | 375.525 | 49.5, 80.87, 101.88, 93.45 |
| 31 | Cmi7(b5) | iC, iEb, iGb, iBb. | 336.58 | 49.5, 58.86, 96.17 |
| 32 | Cmi9(b5) | iC, iEb, iGb, iBb, iD. | 368.002 | 49.5, 58.86, 96.17, 121.17 |
| 33 | Cmi11(b5) | iC, iEb, iGb, iBb, iD, iF. | 399.505 | 49.5, 58.86, 96.17, 121.17, 111.13 |
| Diminuiti e Sus | ||||
| 34 | Cdim. | iC, iEb, iGb. | 308.038 | 49.5, 58.86 |
| 35 | C°7 | iC, iEb, iGb, iA. | 336.58 | 49.5, 58.86, 96.17 |
| 36 | C°7(addMa7) | iC, iEb, iGb, iA, iB. | 356.212 | 49.5, 58.86, 70.01, 53.88 |
| 37 | C+ | iC, iE, iGD. | 323.841 | 68., 85.67 |
| 38 | Csus4 | iC, iF, iG. | 324.793 | 87.6, 42.77 |
| 39 | C7sus4 | iC, iF, iG, iBb. | 351.437 | 87.6, 42.77, 74.16 |
| 40 | C9sus4 | iC, iF, iG, iBb, iD. | 382.133 | 87.6, 42.77, 74.16, 121.17 |
| 41 | C13sus4 | iC, iF, iG, iBb, iD, iA. | 421.916 | 87.6, 42.77, 74.16, 121.17, 292.67 |
| 42 | C7sus4-3 | iC, iG, iBb, iF, iE. | 436.034 | 130.37, 74.16, 193.09, 39.21 |
| 43 | C7(#5) | iC, iE, iGD, iBb. | 350.601 | 68., 85.67, 50.86 |
| 44 | C9(#5) | iC, iE, iGD, iBb, iD. | 372.954 | 68., 40.36, 96.17, 121.17 |
| 45 | C7(b9) | iC, iE, iG, iBb, iDb. | 329.818 | 68., 62.37, 74.16, 88.21 |
| 46 | C7(#9) | iC, iE, iG, iBb, iDD. | 379.963 | 68., 62.37, 74.16, 156.09 |
| 47 | C7(b9b5) | iC, iE, iGb, iBb, iDb. | 326.549 | 68., 40.36, 96.17, 88.21 |
| 48 | C7(#9#5) | iC, iE, iGD, iBb, iDD. | 384.141 | 68., 85.67, 50.86, 156.09 |
| 49 | C7(b9#5) | iC, iE, iGD, iBb, iDb. | 332.962 | 68., 85.67, 50.86, 88.21 |
| 50 | C7(#11) | iC, iE, iG, iBb, iFD. | 387.493 | 68., 62.37, 74.16, 273.84 |
| 51 | C9(#11) | iC, iE, iG, iBb, iD, iFD. | 410.788 | 68., 62.37, 74.16, 121.17, 152.67 |
| 52 | C7(#11b9) | iC, iE, iG, iBb, iDb, iFD. | 363.389 | 68., 62.37, 74.16, 88.21, 185.63 |
| 53 | C7(#11#9) | iC, iE, iG, iBb, iDD, iFD. | 413.493 | 68., 62.37, 74.16, 156.09, 117.75 |
| 54 | C13(b5) | iC, iE, iGb, iBb, iFD, iA. | 420.405 | 68., 40.36, 96.17, 232.3, 181.54 |
| 55 | C13(b9) | iC, iE, iG, iBb, iDb, iA. | 368.183 | 68., 62.37, 74.16, 88.21, 325.63 |
| 56 | C13(#11) | iC, iE, iG, iBb, iD, iFD, iA. | 444.658 | 68., 62.37, 74.16, 121.17, 152.67, 140. |
| 57 | C7sus4(b9) | iC, iF, iG, iBb, iDb. | 333.565 | 87.6, 42.77, 74.16, 88.21 |
| RIVOLTI / INVERSION | ||||
| 58 | C13sus4(b9) | iC, iF, iG, iBb, iDb, iA. | 372.071 | 87.6, 42.77, 74.16, 88.21, 325.63 |
| 59 | C|E | iE, iG, iC2. | 318.914 | 62.37, 131.25 |
| 60 | C|G | iG, iC, iE. | 312.914 | 131.25, 136. |
| 61 | E|C | iE, iGD, iB, iC2. | 354.34 | 85.67, 78.58, 29.37 |
| 62 | Bb|C | iC, iD, iF, iBb. | 326.901 | 32.03, 55.57, 144.65 |
| 63 | C|E (add9) | iE, iG, iC2, iD2. | 434.855 | 62.37, 131.25, 64.08 |
| 64 | C(add9 omit3) | iC, iG, iD2. | 371.479 | 130.37, 195.33 |
| 65 | C7(omit3) | iC, iG, iBb. | 433.205 | 130.37, 101.88 |
| 66 | Cmi7(omit5) | iC, iEb, iBb. | 364.7 | 49.5, 182.75 |
| 67 | C# Ma7 sus4 (b5) | iCD, iFD, iG, iBD. | 378.638 | 92.81, 22.01, 131.25 |
| 68 | F#7 sus (add3) | iFD, iAD, iB, iCD2, iE2. | 416.758 | 96.17, 27.72, 60.49, 104.88 |
| 69 | Bb (add b13 add9) | iBb, iD2, iF2, iGb2, iC3. | 516.266 | 93.45, 111.13, 41.53, 306.51 |
| 70 | A+ (add #9 add b9) | iA, iCD2, iED2, iBb2, iC3. | 668.785 | 114.37, 144.09, 233.87, 114.17 |
| 71 | G#mi7 (add11 omit5) | iGD, iB, iCD2, iFD2. | 527.156 | 78.58, 60.49, 185.62 |
| 72 | F/F# | iFD, iA, iC2, iF2. | 480.864 | 70.01, 83.25, 175.21 |
| 73 | E+/G | iG, iE2, iGD2, iBD2. | 516.514 | 267.25, 171.36, 215.89 |
| 74 | G7sus/A | iA, iC2, iD2, iF2, iG2. | 498.731 | 83.25, 64.08, 111.13, 85.53 |
| 75 | GMA7(#5) / F# | iFD, iG, iB, iDD2, iFD2. | 381.219 | 22.01, 101.88, 128.37, 117.74 |
| 76 | EbMA7(#5) / F | iF, iG, iB, iD2, iEb2. | 472.876 | 42.77, 101.88, 93.45, 34.92 |
| 77 | BMA7sus / F# | iFD, iAD, iB, iE2, iFD2. | 476.78 | 96.17, 27.72, 165.37, 80.74 |
| MODI ANTICHI | ||||
| 78 | Ionico | iC, iD, iE, iF, iG, iA, iB. | 350.47 | 32.03, 35.97, 19.6, 42.77, 48., 53.88 |
| 79 | Dorico | iD, iE, iF, iG, iA, iB, iC2. | 387.552 | 35.97, 19.6, 42.77, 48., 53.88, 29.37 |
| 80 | Frigio | iE, iF, iG, iA, iB, iC2, iD2. | 427.888 | 19.6, 42.77, 48., 53.88, 29.37, 64.08 |
| 81 | Lidio | iF, iG, iA, iB, iC2, iD2, iE2. | 471.615 | 42.77, 48., 53.88, 29.37, 64.08, 71.92 |
| 82 | Misolidio | iG, iA, iB, iC2, iD2, iE2, iF2. | 521.964 | 48., 53.88, 29.37, 64.08, 71.92, 39.21 |
| 83 | Eolio | iA, iB, iC2, iD2, iE2, iF2, iG2. | 356.667 | 53.88, 29.37, 64.08, 71.92, 39.21, 85.53 |
| 84 | Locrio | iB, iC2, iD2, iE2, iF2, iG2, iA2. | 636.42 | 29.37, 64.08, 71.92, 39.21, 85.53, 96.01 |
| 85 | Scala Armonica | iA, iB, iC2, iD2, iE2, iF2, iGD2, iA2. | 606.053 | 53.88, 29.37, 64.08, 71.92, 39.21, 132.15, 49.39 |
| 86 | Scala Melodica | iA, iB, iC2, iD2, iE2, iFD2, iGD2. | 584.139 | 53.88, 29.37, 64.08, 71.92, 80.74, 90.62 |
| 87 | Blues | iC, iEb, iF, iFD, iG, iBb. | 346.847 | 49.5, 38.1, 20.76, 22.01, 101.88 |
| 88 | C diminuita (T-S) | iC, iD, iEb, iF, iFD, iGD, iA, iB. | 352.218 | 32.03, 17.47, 38.1, 20.76, 45.31, 24.7, 53.88 |
| 89 | C diminuita (S-T) | iC, iDb, iEb, iFb, iFD, iG, iA, iBb. | 342.62 | 15.55, 33.95, 38.1, 20.76, 22.01, 48., 53.88 |
| SIX TONE | ||||
| 90 | Modo1 (Messiaen) | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 91 | Modo2 (Messiaen) | iC, iDb, iEb, iE, iFD, iG, iA, iBb. | 342.62 | 15.55, 33.95, 18.5, 40.36, 22.01, 48., 53.88 |
| 92 | Modo3 (Messiaen) | iC, iD, iEb, iE, iFD, iG, iAb, iBb, iB. | 355.634 | 32.03, 17.47, 18.5, 40.36, 22.01, 23.3, 78.58, 0. |
| 93 | Modo4 (Messiaen) | iC, iDb, iD, iF, iFD, iG, iAb, iB. | 342.097 | 15.55, 16.48, 55.57, 20.76, 22.01, 23.3, 78.58 |
| 94 | Modo5 (Messiaen) | iC, iDb, iF, iFD, iG, iB. | 341.453 | 15.55, 72.05, 20.76, 22.01, 101.88 |
| 95 | Modo6 (Messiaen) | iC, iDb, iD, iEb, iF, iFD, iG, iA, iAD, iB. | 349.537 | 15.55, 16.48, 17.47, 38.1, 20.76, 22.01, 48., 26.16, 27.72 |
| 96 | Modo7 (Messiaen) | iC, iD, iE, iF, iFD, iGD, iAD, iB. | 357.059 | 32.03, 35.97, 19.6, 20.76, 45.31, 50.86, 27.72 |
| 97 | Esatonale1 | iCD, iD, iF, iG, iA, iB. | 362.892 | 16.48, 55.57, 42.77, 48., 53.88 |
| 98 | Esatonale2 | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 99 | Enigmatica (Verdi) | iC, iDb, iE, iFD, iGD, iAD, iB. | 354.533 | 15.55, 52.45, 40.36, 45.31, 50.86, 27.72 |
| 97 | Esatonale1 | iCD, iD, iF, iG, iA, iB. | 362.892 | 16.48, 55.57, 42.77, 48., 53.88 |
| 98 | Esatonale2 | iC, iD, iE, iFD, iGD, iAD. | 342.523 | 32.03, 35.97, 40.36, 45.31, 50.86 |
| 99 | Enigmatica (Verdi) | iC, iDb, iE, iFD, iGD, iAD, iB. | 354.533 | 15.55, 52.45, 40.36, 45.31, 50.86, 27.72 |
| INDIAN SCALE | ||||
| 100 | Bhairav thaat | iC, iDb, iE, iF, iG, iAb, iB. | 344.644 | 15.55, 52.45, 19.6, 42.77, 23.3, 78.58 |
| 101 | Todi thaat | iC, iDb, iEb, iFD, iG, iAb, iB. | 344.31 | 15.55, 33.95, 58.86, 22.01, 23.3, 78.58 |
| 102 | Purvi thaat | iC, iDb, iE, iFD, iG, iAb, iB. | 347.392 | 15.55, 52.45, 40.36, 22.01, 23.3, 78.58 |
| 103 | Marva thaat | iC, iDb, iE, iFD, iG, iA, iB. | 349.738 | 15.55, 52.45, 40.36, 22.01, 48., 53.88 |
| 104 | raga Nat Bhairav | iC, iD, iE, iF, iG, iAb, iB. | 348.114 | 32.03, 35.97, 19.6, 42.77, 23.3, 78.58 |
| 105 | raga Charukeshi | iC, iD, iE, iF, iG, iAb, iBb. | 346.042 | 32.03, 35.97, 19.6, 42.77, 23.3, 78.58 |
| 106 | raga Ahir Bhairav | iC, iDb, iE, iF, iG, iA, iBb. | 344.895 | 15.55, 52.45, 19.6, 42.77, 48., 53.88 |
| 107 | raga Saugandh | iC, iD, iEb, iFD, iG, iA, iBb. | 348.029 | 32.03, 17.47, 58.86, 22.01, 48., 53.88 |
| 108 | raga Vachaspati | iC, iD, iE, iFD, iG, iA, iBb. | 351.178 | 32.03, 35.97, 40.36, 22.01, 48., 53.88 |
| PentatoniX Scale | ||||
| 109 | raga Bhupali | iC, iD, iE, iG, iA. | 331.456 | 32.03, 35.97, 62.37, 48 |
| 110 | raga Durga | iC, iD, iF, iG, iA. | 335.24 | 32.03, 55.57, 42.77, 48. |
| 111 | raga Megh | iC, iD, iF, iG, iBb. | 338.132 | 32.03, 55.57, 42.77, 101.88 |
| 112 | raga Dhani | iC, iEb, iF, iG, iBb. | 342.561 | 49.5, 38.1, 42.77, 101.88 |
| 113 | raga Malkauns | iC, iEb, iF, iA, iBb. | 349.22 | 49.5, 38.1, 90.77, 53.88 |
| 114 | Pentatonica Maggiore | iC,iD, iE, iG, iA. | 331.456 | 32.03, 35.97, 62.37, 48. |
| 115 | Pentatonica Minore | iC, iEb, iF, iG, iBb. | 333.565 | 49.5, 38.1, 42.77, 101.88 |
Liuteria Sperimentale
General Twins
“Ho trovato finalmente il semiTono fra il MI e il FA !! nelle chime:)”
Un video davvero breve, di alcuni miei oggetti che hanno accompagnato concerti e produzioni nel campo elettroacustico e acustico fra connessioni e rifrazioni in membranofoni, cordofoni, aerofoni e idiofoni.
Membranofoni
Classic Tammora REMO 832630.0 22 “ pollici
MagicBalls bucata ed incollata ad una molla e bastone.
Cordofoni
Corda di violino collegata con due molle (del vecchio divano della Nonna), dentro pezzi di scopa rotti per ‘dar ulteriore lunghezza al supporto del TamTam.
Aerofoni
RODE BOOM POLE con il bocchino del clarinetto e il classico tubo per i cavi dell’elettricitá.
Idiofoni
2 oggetti da una lunga ricerca su idiofoni…
“Le Fountaine”
Spazi e vegetazione acustica.
Il luogo
Per questo primo esperimento ho scelto la Fontana Medievale di Laterza – Taranto – Italia. Per la grande presenza di acqua o onde, marmo o riflessioni ed insetti o timbri.
Si trova ai margini del centro storico, a ridosso della gravina, ha svolto per secoli il ruolo di approvvigionamento idrico.Benché la struttura, sia di impianto medievale/rinascimentale, il sito era sfruttato fin dall’epoca romana. Si conservano ancora i resti dei piccoli archi di un antico acquedotto a cielo aperto che convogliava le acque sorgive verso la vasca.
Si deve in gran parte al restauro e all’ampliamento nel 1544 del marchese Pietro Antonio D’Azzia.
Sulla struttura è infatti visibile lo stemma nobiliare che unisce le armi dei D’Azzia e dei Brancaccio insieme alla datazione dell’intervento.
La fontana è alimentata da una fonte sorgiva naturale, legata a una falda idrica sotterranea che proviene dall’area del vicino Santuario di Santa Maria Mater Domini, presenta undici mascheroni dalle sembianze umane e grottesche cui bocche sgorgano le cannelle d’acqua. Le espressioni severe e intimidenti dei mascheroni, avevano una valenza simbolica, di protezione: dovevano spaventare gli spiriti maligni per preservare la purezza dell’acqua. L’acqua versata dalle cannelle si raccoglie in un’ampia vasca/abbeveratoio longitudinale in pietra, storicamente utilizzata per l’abbeveraggio del bestiame e per il lavaggio dei panni.
Alcuni del luogo parlano di un uomo lupo (WareWolf) il cui nome abbreviato in: “il lupo mannaro!!” che durante la luna emergeva dal tunnel per bere.
Alcune alluvioni hanno creato incidenti, trascinando automobili animali e persone nella Gravina di Laterza.
L’installazione
Il suono fluisce dalle casse nello spazio, come un’onda in continua trasformazione. Sovrapponendosi a se stesso, crea strati di materia acustica che si spazializzano nello spazio, simili a particelle quantistiche.
È un processo generativo che trasforma il suono ambientale in un organismo sonoro.
Le riflessioni generano fenomeni di colorazione: l’energia sonora si accumula e si propaga nell’ambiente trasformandolo in un ecosistema.
Attraverso automatismi e ramificazioni analoghe a quelle naturali, la risposta dell’ambiente si comporta come un sistema adattivo ed emergente.
In questo contesto, campionatori e buffer diventano uno strumento importante: i suoni catturati germogliano ed evolvono come una vera e propria “vegetazione acustica”.
Le interazioni sonore seguono dinamiche naturali spesso additive, spesso sottrattive.
Gli spazi quindi, agiscono come timbro iniziale e corpo risonante creato da filtri dimensionali: la riflessione del suono ne altera le frequenze, rivelando nuove identità acustiche.
La composizione elettroacustica in questo contesto, diventa un ponte per indagare processi autonomi amplificando suoni non udibili e unendo arte ad indagini scientifiche e promozionali per la prevenzione e diffusione del territorio.
UpiX
UpiX IPad 5/09/2026. ( https://apps.apple.com/it/app/upix/id6804760793)
An application for the study and development of event overlays, based on notes or the manipulation of computer instrument parameters.
This project homage IanniX Xenakis and his UPIC machine, an innovative tool for generating experimental musical structures, where drawings and shapes become notes or event controls.
My work is realized on a digital platform that, while not producing sound itself, transmits MIDI signals.
This application uses “AppleCoreMIDI” and interacts with Audio-MIDI applications through its virtual driver “UpiX Out.”
Just open UpiX and an application like GarageBand, and UpiX will connect automatically.
Inside UpiX iPad A16 with “GarageBand“
You can use the iPad’s USB-C cable or specific apps for Bluetooth LE routing to connect UpiX Out to external devices.
Inside the first test of UpiX and Kyma with Out connections direct usb-C – usb C
It appears as a graph paper sheet;
a finger serves as a composition pencil, two fingers as an eraser.
It uses a variable-size spray for generating free and quantized, automatic dots for experimental uses.
In grid mode, my intuitions adapt to the sequence, quickly finding order at the intersections.
Time is modulated through BPM multipliers, linear automations, and random variations, giving the work an organic dynamic full of variations and silences.
It features an internal storage section and automatic page selection.
Can save pages with “Save Preset,” or use CMD+S shortcut for quick save during performances.
Recall the pagers with “Load” or “Auto-load” for the automatic opening of new sound rooms.
Create folders to store entire tracks, naming the folders and first pages in order to build a mosaic of ideas that flips through itself automatically.
Widowing’s
Quick movements turn into gestures: the spacebar pauses or resumes the flow, CMD+P opens the preset menu, CMD+E activates erase mode, and CMD+Del clears everything in a single gesture.
Since it’s a tool based on the sheet size, it’s essential to remember to pause before resizing the window.
Version 1.55 Cursor reverse.
Strongly raccomand free app midimittr (https://apps.apple.com/it/app/midimittr/id925495245) to connect app over bluetooth MIDI usb stick (https://www.amazon.it/dp/B0CGH6CK33?ref_=ppx_hzsearch_conn_dt_b_fed_asin_title_4).
Just open app midimittr go on usb, and connect to the stick.
UpiX iPad App Store